Episodi
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Have you ever wondered what it takes to create a new opera? Season 5 of Key Change, from the Santa Fe Opera Department of Community Engagement, is coming soon and we’d LOVE for you to help us celebrate its 5th anniversary. We just learned that Key Change is a FINALIST in the Signal Awards for the podcasting industry!
We are up for 2 different awards:
Best Music Show for the 4th season; and
Best Diversity, Equity, and Inclusion Episode for “Telling Hard Truths”, an episode following the commission, creation, and world premiere of This Little Light of Mine by Chandler Carter and Diana Solomon-Glover.
A panel of esteemed industry leaders will be judging the Signal Awards and YOU can help us win Listener’s Choice in both categories by voting for Key Change on their website. We’ve linked both of the voting pages in the show notes in the episode description in your app.
To vote for best Music show go to bit.ly/podcastawardmusic.
To vote for best DEI episode go to bit.ly/podcastawarddei.
Voting ends October 5th, 2023. So please cast your vote as soon as you can!
And yes, you do need to create a sign-in on their site, as they are VERY serious about keeping it fair and preventing people from spamming the ballot box.
We are honored to be recognized for the quality, the heart, and the impact of Key Change and Opera For All Voices. It would be the icing on the show's 5th anniversary cake to officially win a Signal Award!
Thank you, as always, for your support! If you haven't yet listened to Key Change, catch up in your favorite podcast app before Season 5 launches in January 2024.
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Excerpt features the voice of Music Director for This Little Light of Mine, Jeri Lynne Johnson and Jaqueline "Cookie" Hamer Flakes, daughter of Fannie Lou Hamer, as well as music from This Little Light of Mine.
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Key Change is a production of The Santa Fe Opera in collaboration with Opera for All Voices.
Produced and edited by Andrea Klunder at The Creative Impostor Studios
Hosted by Andrea Fellows Fineberg & Anna Garcia
Audio Engineer: Kabby at Kabby Sound Studios in Santa Fe
Production Manager: Alex Riegler
Show Notes by Lisa Widder
Theme music by Rene Orth with Corrie Stallings, mezzo-soprano, and Joe Becktell, cello
Cover art by Dylan Crouch
This podcast is made possible due to the generous funding from the Hankins Foundation, the Andrew W. Mellon foundation, and an Opera America innovation Grant supported by the Anne & Gordon Getty Foundation.
To learn more about Opera For All Voices, visit us at SantaFeOpera.org.
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It’s encore time! After a brief hiatus to appreciate a triumphant 65th summer of opera in the desert, Destination Santa Fe Opera returns with one last conversation to close out this podcast season.
Host Jane Trembley chats with Charles Gamble, SFO’s newly appointed Director of School Programs, and Amy Owens, newly appointed Director Designate of the Young Voices Program about how opera’s inclusive, collaborative storytelling can boost self-esteem and confidence in young people. Charles and Amy also share the paths that led each of them to their current positions, and they provide valuable details regarding the community engagement programs that SFO is involved in, including Opera Storytellers Summer Camp, the Young Voices Program, Active Learning Through Opera (ALTO), and The New Mexico Alliance for Responsive Teaching (NM ART.)
Opera often seems insular and complicated to those unfamiliar with the art form. All the more reason for students to gain exposure to it as soon as possible. “Opera does a remarkable job bringing together every art form,” says Charles, thoroughly smashing opera’s stiff reputation. He is also quick to point out that a student’s first opera might be their last if the introduction isn’t engaging or relatable. “If you consider that each one of the components is actually a point of access rather than focusing on the overwhelming experience, I think that's the way into [opera] for most students.”
Amy agrees. “There’s an infinite well of curiosity, of things to discover through opera, from the super-analytical stuff to the very playful and vulnerable.” She and Charles point to arts education in general and opera exposure specifically as scaffolding for skills-building, lessons that will support students throughout their lives.
Thanks for joining us behind the scenes this season!
Learn more:
School Programs, The Santa Fe Opera
The Young Voices of the Santa Fe Opera
Opera Storytellers Summer Camp
ALTO: Active Learning Through Opera
FEATURINGCharles Gamble - Director of School Programs, Santa Fe Opera
Amy Owens - Director Designate of the Young Voices Program of the Santa Fe Opera
Website
Facebook
Instagram
SFO TikTok
SFO Twitter
SFO YouTube
CREDITSDestination Santa Fe Opera is a Santa Fe Opera podcast produced and edited by Andrea Klunder at The Creative Impostor Studios.
Post-Production Audio: Edwin R. Ruiz
Hosted by: Jane Trembley
Show Notes by: Lisa Widder
***
Learn more about the Santa Fe Opera and plan your visit at https://www.santafeopera.org.
We’d love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.
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Episodi mancanti?
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Santa Fe Opera plays host to more than peerless productions. On stage and off, SFO apprentices spend the season learning by doing at one of the most celebrated and welcoming training grounds in the world. Host Jane Trembley chats with technical apprentice Khadija Ann Tarver and apprentice singer Thomas Cilluffo about their respective programs, what advice the pair have for aspiring apprentices, and their plans beyond Santa Fe.
“I was coming in open-minded since I didn't have a traditional theater background,” admits Khadija. Talent earned her a coveted spot on this season’s props and carpentry team, while curiosity has improved Khadija’s design-and-build acumen. “There's a lot of pressure [to feel like] I'm not particularly good at this yet. Then there's a moment when you realize all of these people in the scene shop and carpentry shop are here to help me, and they want to see me learn as much as possible.”
Apprentice opportunities honor SFO founder John Crosby’s vision of providing an immersive and inclusive environment in which to gain practical experience. “Once you get here, you get coachings, you get lessons, you do apprentice scenes, you do master classes, you sing in the choruses,” Tom says. While his intense performance routine doesn’t leave much downtime for anything but rest, he welcomes the challenges and is bolstered by the camaraderie. “I think the best advice I can give is always to assume positive intent because nobody is here to be your opposition.”
Learn more about The Santa Fe Opera’s Apprentice Program for Singers and the Apprentice Program for Theater Technicians.
FEATURINGKhadija Ann Tarver - Technical Apprentice
Thomas Cilluffo - Performance Apprentice
CREDITSDestination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios.
Post-Production Audio: Edwin R. Ruiz
Hosted by: Jane Trembley
Additional Editing by: Helen King
Show Notes by: Lisa Widder
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Learn more about the Santa Fe Opera and plan your visit at https://www.santafeopera.org.
We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.
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Bad romances don’t come much better than the complicated relationship at the heart of M. Butterfly. Host Jane Trembley talks fantasy versus reality with countertenor Kangmin Justin Kim before his Santa Fe Opera and U.S. mainstage debut as Song Liling in this operatic world premiere.
The pair also discuss the psychology behind Justin's character, transitioning from musical theater to opera, and building representation in the classical music community.
“There are a lot of dichotomies in this piece,” Justin says of the lopsided love affair between French diplomat René Gallimard and Song Liling, the Beijing opera star who exploits Gallimard’s self-delusion to secure their own safety. “[There’s] lots of East and West, man and woman, truth and lies. It's very yin yang.”
The highly anticipated world premiere, delayed two years by pandemic-related scheduling conflicts, is an inventive operatic reworking by David Henry Hwang of his iconic 1988 Tony Award-winning musical. Composer Huang Ruo’s score complements Hwang’s libretto perfectly, providing intelligent references to Puccini’s Madame Butterfly and an increasingly distorted soundscape against which Gallimard and Liling's relationship reaches its inevitable conclusion.
Revisiting decades-old source material is not without its challenges. “I want people to understand that this is a period piece,” says Justin. “M. Butterfly lives in the past, and we need to watch this opera through the lens of the 1960s and the late 1980s when the play was first presented to the world.”
He challenges audiences to consider how far we’ve come in addressing issues connected to sexual orientation, gender identity, and Imperialism––and how far we’ve yet to go.
FEATURINGKangmin Justin Kim – Countertenor
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Instagram
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Facebook
YouTube
MENTIONED IN THIS EPISODEDSFO0206 - Larger Than Life: Verdi’s Falstaff with Quinn Kelsey
La Bien Aimée
CREDITSDestination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios.
Post-Production Audio: Edwin R. Ruiz
Hosted by: Jane Trembley
Show Notes by: Lisa Widder
***
Learn more about the Santa Fe Opera and plan your visit at https://www.santafeopera.org.
We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.
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There’s no such thing as a “little” Wagner. Host Jane Trembley catches up with internationally acclaimed mezzo-soprano Jamie Barton in anticipation of the epic Santa Fe Opera debut of Tristan und Isolde.
The pair chat about the thrill of performing this legendary tale of love and betrayal––and why Richard Wagner’s music is totally worth leaving the house for! Jamie also discusses interpreting her characters through a queer lens and transcending the score to create meaningful art.
“I love this character!” says Jamie of the empathetic Brangäne. “She reminds me of myself in a lot of ways.” For this production, loyal maid Brangäne is cast as Isolde’s sibling. That sisterly bond provides a fresh emotional counterpoint to the titular lovers’ physical attraction. Exploring such nuances suits Jamie, a big, queer girl who advocates for bringing one’s whole self to the stage. “My job is to story-tell, and one of the baseline things I allow myself to do is come with my own honest perspective.”
Jamie, a self-professed Wagner nerd, asserts that Tristan und Isolde sets the bar for all other works in the German composer’s canon, if not all of modern musical composition. “It's overwhelming! This particular opera inspired so much of the 20th-century stuff that we know.”
Still, some folks might need additional coaxing to venture out. For them, Jamie plays her most persuasive card: The Crosby Theatre itself. “We're starting this before sunset, so there’ll be this daytime-to-nighttime transition. That’s an element that’s difficult to get in any other sort of typical theater.”
FEATURINGJamie Barton – Mezzo-Soprano
Website
Instagram
Twitter
TikTok
Facebook
CREDITSDestination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios.
Post-Production Audio: Edwin R. Ruiz
Hosted by: Jane Trembley
Show Notes by: Lisa Widder
***
Learn more about the Santa Fe Opera and plan your visit at https://www.santafeopera.org.
We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.
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Who’ll serve the infamous jolly knight his just desserts? The list of candidates is long, and their scheme is hilarious. All will be revealed when Falstaff, Giuseppe Verdi’s classic farce, arrives on the Santa Fe Opera stage.
Host Jane Trembley speaks with Hawai’i native Quinn Kelsey about embodying the larger-than-life titular character and learns why comedy is more challenging to play than tragedy. Quinn also answers the million-dollar question: what would the celebrated Verdi baritone ask the great composer if given a chance?
If you think you know Verdi, think again. “[Falstaff] behaves like a totally different animal,” says Quinn. The final opera of Verdi’s storied career is a comedic masterpiece propelled by complex wit, outsized swagger, and vibrant music.
“John Falstaff is at that age where life is beginning to pass him by,” Quinn explains. “He still thinks he can charm the ladies, and you have to give him credit for having a huge amount of confidence.”
It doesn’t take long for that swagger to get the jolly knight into riotous trouble. “I don't normally get to play comedic characters,” Quinn says. Although pompous Falstaff is more serious than his fellow characters, all the fizzy stage antics are in response to his self-delusion.
In a role he’s played in different ways since 2014, Quinn is more than up to the vocal and emotional challenge, fully embracing Falstaff’s hubris, hedonism, and gullibility for Sir David McVicar’s sparkling new production. “The fact that I finally get to do something with Sir David from scratch? I'm looking forward to a really fun summer.”
FEATURINGQuinn Kelsey - Baritone
Website
Instagram
Facebook
CREDITSDestination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios.
Post-Production Audio: Edwin R. Ruiz
Hosted by: Jane Trembley
Show Notes by: Lisa Widder
***
Learn more about the Santa Fe Opera and plan your visit at https://www.santafeopera.org.
We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.
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There’s a reason why The Barber of Seville remains one of the most popular operas in the world. Gioachino Rossini’s comedic masterpiece never fails to delight audiences with its lively music, whirlwind romance, and inevitable happy ending.
Host Jane Trembley speaks with mezzo-soprano Emily Fons and tenor Jack Swanson about their approach to providing a fresh take on one of opera’s most familiar tales. The pair also give advice to anyone encountering The Barber of Seville for the first time and share wisdom from their time in the Santa Fe Opera Apprentice Program for Singers. Plus, Jane learns all about playing Cards Against Humanity with like-minded company, traveling opera pets, and helping Kelsey Grammar out of a jam.
“The one thing I like to say about The Barber of Seville is that it's one of those operas where they really got the story right,” Jack says. “It's so easy to follow no matter what time period, no matter what costumes they're wearing, no matter what props they're using.” Who better to evaluate Rossini’s genius than a performer who’s played Count Almaviva in guises ranging from a 19th-century nobleman to a modern-day rockstar?
Emily, too, has appeared in multiple productions of this classic comedy. Her understanding of Rosina, the sparkling, rebellious recipient of Almaviva’s affections, and the opera’s themes have evolved along the way. “That's been my journey over time,” she explains, “from being bogged down in what I thought people's expectations were to finding how I wanted to tell this story.”
As for returning to SFO, both Emily and Jack agree that no other organization is as supportive of apprentices and pros alike. “Thank you,” Emily says, “to the Santa Fe Opera and all those really special people.”
CREDITSHosted by Jane Trembley
Featuring:
Emily Fons - Mezzo-Soprano
Website
Instagram
Facebook
Jack Swanson - Tenor
Website
Instagram
Facebook
CREDITSDestination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios.
Post-Production Audio: Edwin R. Ruiz
Hosted by: Jane Trembley
Show Notes by: Lisa Widder
***
Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org.
We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.
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Is there a more provocative or iconic character in all of opera than Carmen? This free-spirited, defiant factory worker reigns supreme as the original difficult woman––in the best possible way.
Host Jane Trembley chats with Isabel Leonard as she gets set to play the titular diva in Bizet’s Carmen to open Santa Fe Opera’s 2022 season. The mezzo-soprano discusses her physical and emotional preparations for the role, how her Argentine-American heritage has informed her musical intuition, and her love for challenging the misconceptions that surround this charismatic, complicated heroine.
Isabel is no stranger to Carmen’s illustrious (or is it infamous?) appeal nor the long line of talents that have taken on this unjustly-labeled femme fatale. “Even if the concept is a good one, it can be a challenge to break out of it simply because humans are adverse to change in some ways,” says the three-time Grammy Award-winning performer.
Concepts don’t come any better than Carmen. When viewed through our modern lens, this character created in the 19th century is afforded more empathy for having to endure the limitations imposed on her.
“The psychology behind her and what fascinates me in her character has everything to do with not only who she is in her time period, as a woman, but who everybody seems to think she is and how that affects their perception of the piece when they watch it, regardless of how you play it.”
For her interpretation of Carmen, Isabel has reacquainted herself with the castanets, literally tapping into her Argentinian heritage and, even further back, to southern Spain. “I can only imagine the ghosts of Isabels past,” she laughs. “If I were not to fully embrace the character of Carmen, it would be somewhat sacrilegious.”
FEATURINGIsabel Leonard - Mezzo-Soprano
Website
Instagram
YouTube
CREDITSDestination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios.
Post-Production Audio: Edwin R. Ruiz
Hosted by: Jane Trembley
Show Notes by: Lisa Widder
***
Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org.
We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.
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Bringing fantastical worlds to the Santa Fe Opera stage requires creativity, communication, and compassion. Host Jane Trembley chats with Costume Director Blair Gulledge and Properties Director Eileen Garcia about the intense year-round effort that goes into planning and implementing the designs for each season. She also learns how these two department heads collaborate with one another and their commitment to providing a kinder, more supportive working environment for their teams, colleagues, and the Opera’s guest performers.
Scenery may set the stage, but costumes and props establish character, telegraph motivation, and advance the action. “What I love about this discipline is just that level of collaboration. You're not doing art in a vacuum,” says Blair, who will oversee the completion of 500+ costumes for this season alone.
Sure, creating alongside performing artists and backstage artisans at such a high level is available through other theatrical genres. But none deliver the visceral or emotional impact of opera––and few do so in a setting as celebrated as SFO.
Maintaining creative excellence involves meeting the needs of singers, designers, and support staff equally, even when not convenient. Both Blair and Eileen know they’ve realized that objective when the magic onstage looks effortless without testing the safety or sanity of those backstage.
“My goal is just to help tell that story, but it does require a balance and a delicacy,” Blair admits. That’s where having a holistic approach to expectations and artistry works in everyone’s favor, including the audience.
Eileen agrees. “You really can see that designer’s original vision come to life,” she says, adding that the creative teams couldn’t accomplish such astounding theatrical feats without having first “built that relationship based in trust and understanding of what our capabilities are here at the Opera.”
FEATURINGBlair Gulledge
Costume Director, Santa Fe Opera
Eileen Garcia
Properties Director, Santa Fe Opera
CREDITSDestination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios.
Post-Production Audio: Edwin R. Ruiz
Hosted by: Jane Trembley
Show Notes by: Lisa Widder
***
Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org.
We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.
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Flash floods. Supply chain issues. Safety briefings. Would you believe this is opera?
Host Jane Trembley discovers that only at Santa Fe Opera does behind-the-scenes excitement rival onstage drama. She chats with Production & Recruiting Coordinator Tracy Armagost and Technical Director Mike Ortiz, the supportive, creative pair behind SFO backstage team. Tracy and Mike share their long histories with the opera, some of the magical (and nerve wracking!) moments they’ve helped bring to the stage, and exciting maneuvers to pay attention to in the upcoming season.
“Our jobs mingle quite a bit, especially with the scheduling personnel management, on-stage rehearsals,” says Tracy of the day-to-day interaction she and Mike share. While that interaction peaks during the summer months, year-round communication between their departments is vital to maintaining SFO’s reputation as a world-class arts organization.
Consider the weather-related variables of staging massive productions in an open-air theatre sat in the middle of a desert. Throw in the watchful eyes of audience members who prefer to observe change-overs at intermission rather than grab a refreshment in the lobby. Mike and Tracy fit these puzzle pieces (and many more) together on a per-show basis––often years before a production even lands on the stage.
Safety is an additional concern for this duo. The onstage choreography between people and sets requires repeated practice to execute without endangering anyone. “There are sometimes multiple thousand-pound pieces of scenery moving really fast to get from point A to point B,” says Mike. “You could very easily get run over.”
Both Tracy and Mike agree that as demanding as SFO productions are, there’s no place like it in all of opera. “It’s a unique place,” says Mike. “I'm very fortunate to have been able to climb the ladder here, to have a successful career, and be home in Santa Fe.”
CREDITSHosted by Jane Trembley
Featuring:
Mike Ortiz
Technical Director, Santa Fe Opera
Tracy Armagost
Production & Recruiting Coordinator, Santa Fe Opera
Destination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios.
Post-Production Audio: Edwin R. Ruiz
Hosted by: Jane Trembley
Show Notes by: Lisa Widder
***
Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org.
We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.
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Look up the definition for community engagement, and you'll find lots of fantastic terms––Strategic! Interaction! Ally! But the word that tops them all is "relationship."
Host Jane Trembley chats with Kyle Gray, Santa Fe Opera's Manager of Community Relations and Government Affairs, about how he helps foster meaningful connections between SFO and government agencies, fellow arts organizations, volunteers, and Indigenous communities. The pair also explore SFO's comprehensive DEIA initiatives and why diversity, equity, inclusion, and accessibility are critical elements of the organization’s continued vitality.
"These days, it's all about partnerships," says Kyle, offering a shorthand explanation for the long list of engagement activities his office is involved in, supporting the creation of impactful artistic work. High-level meetings with municipal and federal legislative representatives are an exciting aspect of Kyle's day-to-day, but he finds the grassroots collaborations most rewarding.
"There's the Pueblo Opera Program (POP); there's music educators; there's fine arts coordinators; there's arts commissioners. It doesn't stop with Santa Fe Opera volunteers. I think everyone is an advocate for the Santa Fe Opera."
Weaving on stage artistry with off-stage engagement requires a continuous exchange of ideas and invites feedback. Kyle admits that although critiques aren't always easy to hear, they're necessary for relationship-building. He points to Opera For All Voices (OFAV) as an example of how SFO explores these issues, holds space for multiple viewpoints, and processes the impact of such world premiere productions as Hometown To The World alongside the entire SFO community.
SFO's strategic commitment to community ensures folks see their stories on stage and representation among the audiences, artisans, and administrators. "Opera can get you thinking," Kyle says, while engagement invites communities to shape the future of the world's most compelling art form.
FEATURED GUESTKyle Gray
Manager of Community Relations and Government Affairs
CREDITS
Santa Fe OperaDestination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios.
Post-Production Audio: Edwin R. Ruiz
Hosted by: Jane Trembley
Show Notes by: Lisa Widder
***
Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org.
We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.
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Destination Santa Fe Opera welcomes you back for our 2022 season with our host, Jane Trembley.
We're ready to take on 2022 with five brand new productions, including an international co-production a company premiere, and a world premiere.
You could say that we're a little excited.
New episodes of the podcast are coming to you all spring and summer long featuring the artists, singers, technicians, and many opera professionals working behind the scenes to bring you the stories, music and splendor onstage at the Santa Fe Opera.
Make sure you follow us on your favorite podcast app so you don't miss a beat!
CREDITSDestination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios.
Post-Production Audio: Edwin R. Ruiz
Hosted by: Jane Trembley
Show Notes by: Lisa Widder
***
Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org.
We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.
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What has all the compelling drama of a marathon finish line and the adrenaline rush of a Formula One championship? Santa Fe Opera’s 2022 Season, of course!
Or so says Jane’s guest. She sits down with Chief Artistic Officer David Lomelí to learn more about the incredible titles and talents set to grace the Santa Fe Opera stage next summer. The pair also charts David’s path from his hometown in Mexico to the rarified stages of Europe and, finally, to his dream job here in the desert, where he’s poised to break the clichés of opera programming, demystify the genre, and broaden the audience experience.
It’s impossible to not respond to David’s enthusiasm for all things opera. Even the logistical complications brought about by COVID-19 inspire him. “It was such a beautiful challenge,” he says about the 2021 Season. “I gained so much perspective,” he adds, citing the physical safety precautions put into place, as well as the collective emotional support of everyone eager for a return to what David dubbed “big voices in an American house.”
So much of the front-facing activity in that house runs through the Artistic office: the Orchestra, the Apprentice Programs, the music staff, the principal artists. It’s no surprise, then, that David spends his days on what he cleverly calls player personnel evaluation. “We have to manage the architecture of the sound,” he says, describing how his efforts transform wish lists of individual talents into cohesive, magical casts.
Next summer promises to deliver even more signature moments beginning with Carmen, the 2022 Season opener. After such a crowd-pleasing start, it would be easy for SFO to coast on the classics but “we're an international opera house [and] there's so many stories,” David says, explaining that the Santa Fe Opera’s legacy of fostering new works offers audiences an opportunity to experience fresh perspectives. “I think that at the end of the day, it is [about] making the highest possible level of art that moves people to do action.”
Unveiling the 2022 Season
CREDITSDestination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios.
Mixed by: Edwin R. Ruiz
Hosted by: Jane Trembley
Featuring:
David Lomelí
Chief Artistic Officer
***
Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org.
We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.
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Singers aren’t the only apprentices who are put through their paces at the Santa Fe Opera. Theater technicians also participate in an intermediate-to-advanced training program that offers world-class instruction and practical experience in stage operations, properties, audio & video, costumes, production/music services, makeup and wig construction, stage lighting, and scenic art.
Jane chats with Stage Crew Apprentice Larry Ortiz and Properties Run Crew Apprentice Caitlynn Sandoval about their adventures behind (and, sometimes, underneath) the scenes.
“Every night, there's always a crowd of people who stay to watch,” says Larry of audience members who forgo other intermission activities so they don’t miss the second show––an intricately choreographed spectacle performed by Santa Fe Opera’s brilliant stage crew. Unlike other venues where set changes take place behind a curtain, the action’s on full display in The Crosby Theatre.
Larry welcomes the chance to share this demanding aspect of opera with audiences, a mental and physical game of beat-the-clock. The work is grueling. He and his fellow technicians often log 80 hours of work a week between rehearsals and performances. The reward, however, is more than simply professional. “When you really don't think you have a lot in you and you just do them,” he says of the changeovers, “I like the...not the struggle, but the pushing yourself. I think that's cool. I enjoy that.”
Caitlynn Sandoval agrees. “It's just so fun to come to work every day and love what you do and love who you work with!”
The action is swift backstage. As a props apprentice, Caitlynn’s attention is focused on making sure everything––from magic trunks to prop guns––is set properly and used safely. But this second-year apprentice isn’t limiting her future career plans to a single department just yet. Instead, she’s busy exploring every aspect of technical stage production while enjoying the moments unique to this Santa Fe Opera summer.
“I think we all lost the feeling that we all get when the curtain opens or the orchestra starts tuning,” she Caitlynn says of last season’s pandemic postponement. “I never want to lose this again.”
CREDITSDestination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios.
Mixed by: Edwin R. Ruiz
Hosted by: Jane Trembley
Featuring:
Larry Ortiz, Stage Crew Apprentice
Caitlynn Sandoval, Properties Run Crew Apprentice
***
Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org.
We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.
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Audiences and staff aren’t the only ones excited for opera’s return to the desert this season. Jane Trembley chats with soprano Teresa Perrotta and bass Allen Michael Jones, two performers in the 2021 Santa Fe Opera Apprentice Program for Singers.
Teresa and Allen Michael take listeners inside this “summer camp” for singers which is internationally recognized as one of the first, and most exceptional programs of its kind. They share stories about the audition process, performance opportunities, and the moments that make singing in front of live audiences again so special.
Teresa Perrotta is busy. When she’s not hiking desert trails (a first for this native Floridian) or training for her fight scene as Helena in SFO’s production of A Midsummer’s Night Dream, Teresa’s collaborating with the Apprentice Program’s world-renowned guest artists and instructors. “We get to work with a lot of different people and make new connections,” she says. “So, very busy. Lots of singing! But there's a combination of performing and really learning about our craft which is really nice.”
Allen Michael Jones agrees. A relative newcomer to opera, he’s quickly cultivated a love for the endurance, emotion, and vulnerability that this art form demands.
In addition to his Santa Fe Opera Chorus duties, Allen Michael performs the role of Zaretsky in Eugene Onegin. Although the Apprentice Program’s class and performance structure is intense, the rewards vastly outweigh the rigors. “You know, [it’s] a lot to do in a little amount of time and there's no better feeling than knowing that I've actually accomplished something,” he says, adding, “I always say to myself, ‘I don't know how I'm going to pull this one off this time, but I know I will.’”
Even with the added work of preparing scenes for the Apprentice Scenes showcase, Teresa and Allen Michael have both found time to sample Santa Fe’s glorious cuisine. So, which one made a secret confession in the great chile debate?
CREDITSDestination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios.
Mixed by: Edwin R. Ruiz
Hosted by: Jane Trembley
Featuring:
Teresa Perrotta, Soprano
Allen Michael Jones, Bass
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Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org.
We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.
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Soprano Angel Blue makes her Santa Fe Opera debut in concert Saturday, August 7, 2021.
Jane caught a spare moment with Angel upon her arrival in Santa Fe to learn more about who she is on stage, off stage, and in the practice room. Angel also shares strong opinions and guidance for young singers, who may fall into the comparison trap with “the greats” who’ve come before them.
Angel’s Bio:
Angel Blue has emerged in recent seasons as one of the most important sopranos before the public today. On September 23, 2019 she opened the Metropolitan Opera’s 2019/2020 season as Bess in a new production of George Gershwin’s Porgy and Bess. These performances followed her internationally praised French Opera debut and role debut as Floria Tosca at the Aix-en-Provence Festival in July of 2019.
She has also been praised for performances in many other theaters, such as the Vienna State Opera, Semperoper Dresden, San Francisco Opera, Seattle Opera, Theater an der Wien, Oper Frankfurt, and San Diego Opera. In the current season, Ms. Blue will appear in concert at the Carmel Bach Festival and in galas in St. Petersburg and Santa Fe, with fall performances of Fire Shut Up in My Bones and Porgy and Bess at the Metropolitan Opera in New York.
Mentioned in this Episode:
HiHo Kids meet an opera singer video
CREDITSDestination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios.
Mixed by: Edwin R. Ruiz
Hosted by: Jane Trembley
Featuring: Angel Blue, American soprano
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Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org.
We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.
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Welcoming opera-lovers back to the Santa Fe Opera this summer requires a massive behind-the-scenes effort, much of which is coordinated by the front-of-house team. Jane Trembley talks preparations and protocols with Julie Wheeler, the Santa Fe Opera’s audience services director. Their conversation sheds light (and a few tears) on the grace, gratitude, and overwhelming emotions accompanying this season’s return to the desert stage.
The 2021 Season comes with a host of new challenges. Few know better than Julie. She and key colleagues across the company have spent the last 16 months researching, planning, and implementing many of the modifications SFO has put into place this season. However, she credits the entire staff with making the adjustments look and feel effortless. From newly installed touchless technology to seamless social distancing measures, this season’s goal, says Julie, remains the same as always: to create an environment in which audiences can commune with opera surrounded by gorgeous natural scenery. “It's just going to be one of those things where I think what they can expect is what we've been talking about - that sense of being out and being someplace you know and love and experiencing your joy.”
Joy is Julie’s beacon. It colors memories of her first visit to Santa Fe, the one in which she visited her mother and never left. It flavors her overwhelming penchant for red chile (sorry, team green). Joy is also the force behind her compassion for ticket holders as she and her team contacted every single one last year to share that the pandemic had forced SFO into an unprecedented, season-long closure.
As summer gets underway, Julie’s excited to finally see how guests respond to SFO’s new initiatives, including the nightly, on-site Simulcasts of every single show. “For people who maybe aren't ready yet to step foot into a theater with, you know, 15- to 1700 people, it gives them an opportunity to view from their car and tailgate and still have that wonderful experience.” No matter where they’re seated this season, Julie’s efforts ensure that audiences will rediscover their joy, safely.
Listeners can find the restaurants recommended in this episode below.
CREDITSDestination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios.
Mixed by: Edwin R. Ruiz
Hosted by: Jane Trembley
Julie Wheeler, Audience Services Director, Santa Fe Opera
MENTIONED IN THIS EPISODEAtrisco Cafe & Bar
The Pantry
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Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org.
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Magic, mischief, and mismatched lovers are at cross purposes when the Santa Fe Opera premieres one of Shakespeare’s most beloved comedies. Choreographer and dancer Reed Luplau says there’s no better setting for A Midsummer Night’s Dream than our glorious desert stage.
Host Jane Trembley learns more about Reed’s fascinating journey from his mother’s dance studio on Australia’s West Coast to some of the world’s biggest venues. Reed also shares insight into his preparations for playing Puck, the fairy whose pranks cause so much confusion, as well as his process for crafting stories through movement. The conversation ends with Reed’s must-see, do, and eat recommendations when in Santa Fe, a list that’s sure to please locals and first-timers alike.
“We're really trying to see and push how far Puck can be... how dangerous he could be, but with an innocence to him,” Reed says, offering listeners a glimpse into the collaborative relationship between choreographer and director Netia Jones.
In his quest to bring fresh energy to Shakespeare’s 400-year-old original, Reed gave thorough consideration to the complex, often cheeky relationship between his impish fairy and King Oberon, to whom he is the court jester. Puck’s ethereal nature and juvenile antics may prompt comparisons to Peter Pan, but Reed has another character on his mind heading into rehearsals: Randall Boggs, the shape-shifting villain from Monsters, Inc. “I don't know if I'm giving too much away,” he laughs, “but, for now, I think it's playful, but it's not in an evil way.”
Although A Midsummer Night’s Dream marks Reed’s first Shakespearian experience, this accomplished, joyful performer is no stranger to Santa Fe. He made his debut here in 2013 playing Bosie in Santa Fe Opera’s world premiere of Oscar, a residency that instilled in him a great appreciation for the desert. His list of area favorites includes Lake Abiquíu for outdoor adventure and dining on the patio at Gabriel’s. As fond as he is of those spots, Reed’s most cherished memories of Santa Fe are those made on The Crosby Theatre stage. “The acoustics at Santa Fe are just incredible! My favorite part is the water,” he says, referencing the small reflecting pool in front of the stage, often lovingly referred to as the moat. “It's so gorgeous, and it adds another element to the scenery of where you are.”
Listeners can find Reed’s list of Santa Fe favorites in the credits below.
CREDITSDestination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios.
Mixed by: Edwin R. Ruiz
Hosted by: Jane Trembley
Featuring: Reed Luplau, Actor & Choreographer
MENTIONED IN THIS EPISODEAbiquíu Lake, New Mexico
Gabriel’s Restaurant
Cowgirl BBQ
Harry’s Roadhouse
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Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org.
We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.
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Rising star Avery Amereau lends her lush contralto voice in the role of Olga in the Santa Fe Opera’s new production of Eugene Onegin, Alexander Pushkin’s story of rakes and romantic mistakes set to glorious music by Tchaikovsky.
While this marks the singer’s Santa Fe Opera debut, Avery is well acquainted with Olga and New Mexico’s great chile debate. Host Jane Trembley chats with her about the perks of possessing an authentic contralto voice, the singer’s less than traditional introduction to opera, and a favorite (shocking!) memory from her Metropolitan Opera debut.
Avery also shares wise words with novice singers about staying true to one’s voice and recommends thematic elements audiences should note while attending this sumptuous opera.
“There's an idea that contralto roles are usually, like, old ladies or nurses,” Avery laughs. Contraltos - singers whose vocal range is the lowest female voice type - are often cast as evil sisters or, as Avery likes to say, the witches and britches of the opera world. She sees teenage Olga as a bit of a flirt, a social butterfly - characteristics that will require a fresh perspective from Avery when the two meet again.
“It'll be a bit more challenging in that way than when I was at Julliard because I've lived so much more life since then,” she says, including becoming a new mother. In addition to heralding the singer’s debut with the Santa Fe Opera, Eugene Onegin also marks Avery’s return to performances after the pandemic. “I think it's very fitting to come back to this role,” she says. “It has a very special significance for me.”
Last seen at the Santa Fe Opera in 2002, Eugene Onegin allows audiences to experience Avery’s vibrant contralto in Russian. The feat required her to learn the Cyrillic alphabet and make sense of consonant clusters and diphthong pronunciations not found in standard American English. Tchaikovsky’s soaring score is worth the effort, though.
“It's a good mix,” Avery says of Olga. “I have a duet; I have an aria; I have a quartet; I have an ensemble. So, I get a nice smattering of everything possible.” Audiences will, too.
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Destination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios.
Mixed by: Edwin R. Ruiz
Hosted by: Jane Trembley
Featuring:
Avery Amereau, American Contralto
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Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org.
We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.
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Celebrated countertenor Anthony Roth Costanzo will channel Dracula and Dionysus when he makes his Santa Fe Opera debut this season in the world premiere of The Lord of Cries.
Host (and uber fan-girl) Jane Trembley chats with Anthony about what it’s like having a lead role crafted especially for him by composer John Corigliano, with libretto by Mark Adamo. The pair also discuss why this heart-stopping production is the perfect opera with which to entice audiences back to the Crosby Theatre.
For those scratching their heads at the term countertenor, you know it when you hear it - and you’ve heard it. Think Prince, the BeeGees, and even Justin Timberlake “just done in a more full-throated way,” Anthony explains.
He traces the style’s origins back to the castrati popular in 16th-century opera. Those performers were widely revered as the rockstars of their time. The vocal range of countertenors is our modern equivalent, minus the castration, of course. Their high-voltage sound lends itself well to characters who occupy a more mysterious realm. “Contained within the countertenor’s voice are all of these questions of, really, identity as it relates to gender, as it relates to sexuality,” says Anthony, adding, “now we live in a time when everyone is thinking in a more open-minded way.”
The Lord of Cries takes full advantage of Anthony’s dynamic talents. John Corigliano, whom Anthony has known for 20 years, wrote his first opera, The Ghost of Versailles, in 1991. He hadn’t written a second opera, until now.
The piece poses complex questions about the human condition against an unsettling, ethereal backdrop. It’s a thrilling and terrifying space to play in as there’s no precedent, no previous productions from which Anthony might draw insight. “It's like having a suit that is tailor-made for your own body.”
As for making his debut on the legendary desert stage in the lead role of a new work, Anthony says, “Santa Fe has been at the forefront of bringing American opera to fruition, you know, new operas, new composers, and making it happen, and that's been so thrilling.”
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Destination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios.
Mixed by: Edwin R. Ruiz
Hosted by: Jane Trembley
Featuring:
Anthony Roth Costanzo, American Countertenor
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Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org.
We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.
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